Love the Sentinel
Jean Honoré Fragonard·c. 1773/1776
Historical Context
Love the Sentinel (c. 1773-76), at the National Gallery of Art, is the companion to Love as Folly, continuing the allegorical exploration of love's various aspects. Love as watchful guardian complements the depiction of love as madness, together suggesting the paradoxical nature of romantic passion — simultaneously protective and destructive, rational and insane. These paintings were originally intended for Madame du Barry's Louveciennes pavilion, where they would have formed part of an elaborate decorative program celebrating love in all its manifestations. When du Barry rejected them, the paintings remained with Fragonard and eventually found their way to American collections.
Technical Analysis
The painting shares the bravura technique of its companion piece, with rapid, fluid brushwork and a warm, golden palette. Fragonard's characteristic handling creates an atmospheric, almost dreamlike quality, with soft modeling of flesh tones and energetic, decorative treatment of drapery and accessories.
Provenance
Possibly Jean François Leroy de Sennéville [1715-1784], Paris; possibly (his sale, Chariot and Paillet at Hôtel de Bulion, Paris, 5-11 April 1780, no. 56); possibly purchased by Verrier. possibly Marquis de Véri; possibly (his sale, Paillet, Paris, 12 December 1785, no. 39); possibly purchased by Millin. possibly Folliot; possibly (Folliot sale, Regnault, Paris, 15 April 1793, no. 50). Marquis des Isnards; (Wildenstein, London, New York, and Paris); probably held jointly with (Ernest Gimpel, New York); sold 1905/1906 to John Woodruff Simpson [1850-1920], New York; by inheritance to his widow, Katherine Seney Simpson [d. 1943], New York; by inheritance to her daughter, Jean W. Simpson [1897-1980];[1] gift 1947 to NGA. [1] Georges Wildenstein wrote to Fern Shapley that his father had purchased this painting and its pendant, _Love as Folly_ (NGA 1947.2.1), from the marquis des Isnards, whose unwritten family tradition was that they had owned the pair since they were painted (letter of 21 June 1948, in NGA curatorial files). The "CA" numbers on the stretchers of both paintings, and the corresponding prospectus for the pair (in NGA curatorial files) indicate that they were on consignment with M. Knoedler & Co. at some time during the Simpsons' ownership. See entry on page 17 of Commission Book 4, Knoedler Records, Getty Research Institute, Los Angeles, copy in NGA curatorial files.
